VM402-05 Cinematic Media

Reinventing Cinema in the Digital Age

Department of Visual & Media Arts
Emerson College
Fall Semester 2023
Tues/Thur 5 September-18 December 2023 4:00-5:45 p.m.
Little Building 241
Dr. Martin Roberts

Overview

The concept of the cinematic is everywhere today, from the iPhone camera’s cinematic mode to TikTok’s #cinematic to AI art prompts. Yet what exactly do we mean by the cinematic? Is it defined technically (frame rate), stylistically (deep/shallow focus), or by other criteria (projection, screen size)? This course explores the concept of the cinematic by considering the place of cinema within the larger field of contemporary digital culture.

The course focuses on two apparently contradictory developments: on the one hand, the migration of the concept of the cinematic to television, music video, video games, social media, and immersive environments; on the other, the evaporation of the cinematic from cinema itself as it becomes saturated by the visual design of comics, smartphone interfaces, and social media. Contrary to familiar claims that cinema is “over,” the course will show that cinema has been reinventing itself throughout its history, a process that has continued up the present in the algorithmically-enhanced versions of the earliest actuality films uploaded to YouTube.

Format

This is primarily a critical-thinking course, although it includes a practical and production component. This means that it encourages you to think reflexively and analytically about the digitally-mediated cultural practices that the course considers, as well as to participate in them; for example, you will be invited to experiment with image-synthesis and text-generating software and analyze the results using key concepts and theoretical frameworks.

Outcomes

By the end of the course, students will:

  • have acquired a deeper understanding of the social, cultural, and political dimensions of digital technologies and networked communication;
  • be able to apply critical thinking to contemporary developments in digital culture using relevant analytical concepts and both qualitative and quantitative methodologies such as cultural analytics;
  • understand basic principles of algorithmic image synthesis on a variety of platforms;
  • have reflected upon and discussed the larger significance of machine learning systems within global networked societies.

Texts

Selected chapters from the texts below will be made available as PDFs; you are nevertheless encouraged to purchase at least several of texts that are of interest and read more of them.

Note on formats: A number of texts listed in the bibliography are available as e-books and/or audiobooks. You are encouraged to make use not only of print media but also of these screen-based and audio formats.

Schedule of Classes

Week 1

I. Defining The Cinematic

2023-09-05_Tues

Introduction: Film and Cinema

The Definition of Film (Richard Misek, 2015)

The Definition of Film

2023-09-07_Thur

#Cinematic

The Rise of Film TikTok (Queline Meadows, 2020)

The Rise of Film TikTok

On Your Screen #3 - The Rise of Film TikTok [podcast]

Film TikTok Creators’ Panel (2021)

Criticism in the Age of TikTok (Charlie Shackleton, 2019)

Criticism in the Age of TikTok

Week 2

2023-09-12_Tues

Cinematic Mode

The Bucket (Jia Zhangke, 2019)

The Bucket

Detectives (Apple, 2022)

Detectives

Whodunnit (Apple, 2022)

Whodunnit

Chase (Apple, 2022)

Chase

In Praise of Blur (Richard Misek, 2017)

In Praise of Blur

2023-09-14_Thur

24fps

Stu Maschwitz on 24p, from a 2010 MacVideo Interview

Stu Maschwitz on 24 fps

Magic Bullet suite

Week 3

Style

2023-09-19_Tues

Kogonada, archive (watch all)

2023-09-21_Thur

The Black Screen (Richard Misek, 2017)

The Black Screen

Week 4

2023-09-26_Tues

Montage

Michael Witt, “Montage, My Beautiful Care, or Histories of the Cinematograph”

Godard, Histoires de Cinéma

2023-09-28_Thur

La Hora de los Hornos [The Hour of the Furnaces] (Fernando Solanas and Octavio Gettino, 1968)

Sans Soleil (Chris Marker, 1983)

Week 5

2023-10-03_Tues

Freeze Frame

La Jetée (Chris Marker, 1961)

Cindy Sherman, Film Stills

2023-10-05_Thur

Screen Tests

Warhol: Screen Tests

Justin Remes, “Serious Immobilities: Andy Warhol, Erik Satie and the Furniture Film” 

Warhol films: Empire, Sleep

Week 6

2023-10-10_Tues NO CLASS

2023-10-12_Thur

Absences

Justin Remes, chs. 3-4 of Absence in Cinema:

“Animated Holes: An Interview with Naomi Uman” (Millennium Film Journal)

DEADLINE: Essay: What is (the) Cinematic?

Week 7

2023-10-17_Tues

Real Time

Ivone Margulies, “A Matter of Time: Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles” (Criterion, 17 August 2009)

Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles (Chantal Akerman, 1975)

2023-10-19_Thur

24 Frames, Walker

Week 8

2023-10-24_Tues

Cinematic Music Video

Music videos TBA

2023-10-26_Thur

Soundscapes: Cinematic Music

Heima (Sigur Rós, 2007)

Week 9

Cinematic TV

2023-10-24_Tues

Rashna Wadia Richards, “Introduction: What Is Cinematic TV?”

Matt Zoller Seitz, “What Does ‘Cinematic TV’ Really Mean?” (Vulture, 21 October 2015)

2023-03-23_Thur

Rashna Wadia Richards, “How About… We Watch A Scary Movie Together”

Stranger Things

Week 10

Videogames: Interactive Cinema

2023-10-31_Tues

Immortality (Sam Barlow, 2022) [on Steam]

2023-11-02_Thur

Cut scenes, reading tba

Week 11

Cine-VR: Immersive Narrative

2023-11-07_Tues

Dan Schindel, “The First Feature Documentary Made Entirely in Virtual Reality” (Hyperallergic, 24 July 2022)

We Met in Virtual Reality

Dan Schindel, “’As Organic as a Real Camera’: An Interview with Joe Hunting” (Immerse, 25 January 2022)

Dooley, Kath. “Virtual Reality: Moving Beyond a Cinema of Attractions”

Allumette (2016). Penrose Studios

2023-11-09_Thur

Miriam Ross and Alex Munt, “Cinematic Virtual Reality: Towards the Spatialized Screenplay”

John Mateer, “Directing for Cinematic Virtual Reality”

Week 12

Cinematic AI

2023-11-14_Tues

Generative Video
YouTube AI movies (from playlist) Runway Gen-2  Julie Wieland

2023-11-16_Thur

ChatGPT
Sunspring (Thomas Middleton, 2016)

Sunspring

It’s No Game Thomas Middleton, 2017)

It’s No Game

DEADLINE Research Paper/Project Proposal

Week 13

2023-11-21_Tues

Screenings from AI film festival 2023

DEADLINE Video Essay

2023-11-23_Thur NO CLASS (Thanksgiving)

Week 14

2023-11-28_Tues Video Essay Screenings 2023-11-30_Thur Video Essay Screenings

Week 15

2023-12-05_Tues AI movie screenings 2023-12-07_Thur AI movie screenings

Week 16

2023-12-12_Tues Research Papers 2023-12-14_Thur Research Papers

2023-12-18 Last day of classes

Assignments & Evaluation

1. Critical Essay: What is (the) cinematic? (15%)

1,000 words / 4 pages double-spaced. Based on readings and discussions in the first half of the course. Due at midterm. Grading: Letter

2. Film Analysis (15%)

Critical analysis (1,000 words, 4 pages double-spaced) of one film in terms of its relationship to cinematic media. Grading: Letter

3. Agenda posts (20%)

One day prior (NB) to either Tuesday or Thursday classes, post a short question or comment (short paragraph) relating to weekly reading/screening assignments for class discussion. Weekly, minimum of ten posts required over the semester. Grading: P/F

4. Film TikTok (20%) Produce a 1-5 minute video essay analyzing an aspect of the cinematic or cinematic media, using as a model the examples of film TikTok provided at beginning of semester. Post it on TikTok. Individual, but pair work is also possible. Due last class before Thanksgiving; will be reviewed and discussed with the group in class the week after Thanksgiving. Grading: Letter

OR

5. AI Movie (20%) Make a 1-minute AI movie on your cellphone using Runway Gen-2 or a similar tool. Post it on YouTube. Grading: Letter.

6. Research Paper (20%)

In-depth case study of an example from a cinematic medium (TV, music video, advertising, videogames, VR, AI), or other question relating to cinematic media. Presented in class after Thanksgiving. 1,750-2,000 words / 6-8 pages double-spaced, excluding bibliography. Deadline: Thursday 16 November 2023. Grading: Letter.

7. Engagement (10%)

Attendance, punctuality, contribution to in-class discussion, personal conferences regarding course materials, etc.

Policies

Academic Honesty

It is the responsibility of all Emerson students to know and adhere to the College’s policy on plagiarism, which can be found at emerson.edu/policies/plagiarism. If you have any question concerning the Emerson plagiarism policy or about documentation of sources in work you produce in this course, speak to your instructor.

Diversity

Every student in this class will be honored and respected as an individual with distinct experiences, talents, and backgrounds. Issues of diversity may be a part of class discussion, assigned material, and projects. The instructor will make every effort to ensure that an inclusive environment exists for all students. If you have any concerns or suggestions for improving the classroom climate, please do not hesitate to speak with the course instructor or to contact the Social Justice Center at 617-824-8528 or by email at sjc@emerson.edu.

Discrimination, Harassment, or Sexual Violence

If you have been impacted by discrimination, harassment, or sexual violence, I am available to support you, and help direct you to available resources on and off campus. Additionally, the Office of Equal Opportunity (oeo@emerson.edu; 617-824-8999) is available to meet with you and discuss options to address concerns and to provide you with support resources. Please note that I because I am an Emerson employee, any information shared with me related to discrimination, harassment, or sexual violence will also be shared with the Office of Equal Opportunity.  If you would like to speak with someone confidentially, please contact the Healing & Advocacy Collective, the Emerson Wellness Center, or the Center for Spiritual Life.

Accessibility

Emerson is committed to providing equal access and support to all students who qualify through the provision of reasonable accommodations, so that each student may fully participate in the Emerson experience. If you have a disability that may require accommodations, please contact Student Accessibility Services (SAS) at SAS@emerson.edu or 617-824-8592 to make an appointment with an SAS staff member.

Students are encouraged to contact SAS early in the semester. Please be aware that accommodations are not applied retroactively.

Writing & Academic Resource Center

Students are encouraged to visit and utilize the staff and resources of Emerson’s Writing Center, particularly if they are struggling with written assignments. The Writing Center is located at 216 Tremont Street on the 5th floor (tel. 617-824-7874).

In-Class Recording

Regardless of modality or whether this course is being recorded by the College with the permission of the students for classroom purposes, this class is considered a private environment and it is a setting in which copyrighted materials, creative works and educational records may be displayed. Audio or video recording, filming, photographing, viewing, transmitting, producing or publishing the image or voice of another person or that person’s materials, creative works or educational records without the person’s knowledge and expressed consent is strictly prohibited.